Title page of the 1909 edition of Emma, illustrated by C. E. Brock.
“I planned the match from that hour” ~ Volume I, Chapter I
“As she was so fond of it, it should be called her cow” ~ Volume I, Chapter IV
Frequently coming to look ~ Volume I, Chapter VI
He was very sure there must be a lady in the case ~ Volume I, Chapter VIII
“You and I will have a nice basin of gruel together” ~ Volume I, Chapter XII
She left the sofa ~ Volume I, Chapter XV
“Ma’am…do you hear what Miss Woodhouse is so obliging to say about Jane’s handwriting?” ~ Volume II, Chapter I
“He thought I had much better go round by Mr. Cole’s stables” ~ Volume II, Chapter III
He stopt…to look in ~ Volume II, Chapter VI
Very busy over parish business ~ Volume II, Chapter VIII
“I have the pleasure, madam, (to Mrs. Bates,) of restoring your spectacles, healed for the present.” ~ Volume II, Chapter X
“Ah! he is off. He never can bear to be thanked” ~ Volume II, Chapter X
What was to be done? ~ Volume II, Chapter XI
“Half an hour shut up with my housekeeper” ~ Volume II, Chapter XIV
“I see very few pearls in the room except mine” ~ Volume III, Chapter II
The terror…was then their own portion ~ Volume III, Chapter III
“I shall be sure to say three dull things as soon as ever I open my mouth, shan’t I?” ~ Volume III, Chapter VII
“Jane Fairfax!–Good God! You are not serious?” ~ Volume III, Chapter X
Mr. Perry…with a disengaged hour to give her father ~ Volume III, Chapter XIII
“my dearest, most beloved Emma–tell me at once” ~ Volume III, Chapter XIII
“She absolutely refused to allow me” ~ Volume III, Chapter XIV
“He did not know what was come to his master lately” ~ Volume III, Chapter XVI
There was no longer a want of subject ~ Volume III, Chapter XVIII
Charles Edmund Brock (5 February 1870 – 28 February 1938) was a widely published English line artist and book illustrator, who signed his work C. E. Brock. He was the eldest of four artist brothers, including Henry Matthew Brock, also an illustrator. He studied art briefly under sculptor Henry Wiles.
He received his first book commission at the age of 20 in 1890. He became very successful, and illustrated books for authors such as Jonathan Swift, William Thackeray, Jane Austen, Charles Dickens, and George Eliot. Brock also contributed pieces to several magazines such as The Quiver, The Strand, and Pearsons. He used the Cambridge college libraries for his “picture research.” Brock is best known for his line work, initially working in the tradition of Hugh Thomson, but he was also a skilled colourist.
He and his brothers maintained a Cambridge studio filled with various curios, antiques, furniture, and a costume collection. They owned a large collection of Regency-era costume prints and fashion plates, and had clothes specially made as examples for certain costumes.Using these, family members would model for each other.
Brock did not publish any more work after 1910.
The approach of C.E. Brock’s work varied with the sort of story he was illustrating. Some was refined and described as “sensitive to the delicate, teacup-and-saucer primness and feminine outlook of the early Victorian novelists,” while other work was “appreciative of the healthy, boisterous, thoroughly English characters” – soldiers, rustics, and “horsey types.” Other illustrations were grotesqueries drawn to amuse children looking at or reading storybooks.